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THE 



WAX WORKER'S 

TEXT-BOOK 



PLATE YI. 




EOSE AND BUD, 



^' 



THE 



WAX WORKER'S 



TEXT-BOOK. 



BY 



ALBERT B. SMITH. 



Wf^h §mticnl illttHimtion^. 



FIRST EDITION. mA^J)-^ 



_^^A11 portions of this book are protected by copyright, 
any infringement will be promptly prosecuted. 



^7 3. 






Entered according to Act of Congress, in the year 1873, by 

ALBERT B. SJIITH, 

in the Office of the Librarian of Congreaa at Washington, D. C; 






To THE Wax Workers of America 

to xchom 

The Tribute of this dedication is felt 
\o be equally due — In virtue of 
their acknowledged proficiency in 
the Art, is this work ^■ 

Respectfully Inscribed, 



DIPLOMA 

Awarded by the American Institute to 
SARAH M. SMITH, 

FOR 

WAX FLOWERS AND FOLIAGE, 

Exhibition of i873» 



P. A. P. Barnard, Pres. John E. Gavit, Roc. See. 

feamuel D. Tillman, Cor. Sec. 



New York, Nov. 15th, 1873, 



This was the only Diploma awarded to the Wax 
Flower and Foliage Department, there being sixteen com- 
petitors, it is conclusive that our work is far superior to 
any other. 



TESTIMONIAL 



I have examined the Wax Worhers Text-Book, 
and consider it, hy far, the most comprehensive u-ork 
on Wax Flowers that I have seen, TJiis Kew Method 
is so simple: and the practical details relating to Moulds, 
Tools, Wax, &c. are minutely given, Tlie beginner is 
progressively led from the elements to the most difficult 
flowers. Especial attention is paid to the materials, &c. 
vsedin making the handsomest bouquet. Great care 
has heen taken to describe this New Method as clearly 
as words icill allow, and many excellent cuts illustrate 
the stdiject. 



Julius F. van Meerbeke. 



CONTENTS, 



PBErACE, XV 

GENERAL INSTEUCIIOXS, . . . 21 

INTRODUCTOEY, 28 

LESSON I. — WHITE WATEE-LILY, . . 32 

11. — ROSE AND BUD, . . .39 

III. — CASIELLIA JAPONICA, . . 47 

IV. — MORNING GLORY, . . .52 

Y. — LILY OF THE YALLEY, . 56 

VI. — DARK CLOVE TINK, . . 59 

VII. — TU-BEROSE, ... 62 

VIII. — FUCHSIA, . . . .65 

IX. — SWEET PEA, ... 68 

X. — AUTUMN AND GREEN LEAYES, 73 

LIST OF MATERIALS, . . . . .76 



PKEFACE. 



The need of a thorough book of instructions 
upon the subject of wax flowers in our New 
Method of making them, has induced the 
author of this work to undertake the task of 
furnishing to the artistic (and more especially 
to those who have the desh^e to become pro- 
ficient in the beautiful art) a thorough in- 
structive and readable work on the subject, 
which will be in reality '* The Wax-workers' 
Text-Book," and an authority which may be 
rehed upon as correct. 

During the short time we had in which to 
prepare this work we were afforded an oppor- 
tunity of examining a number of works, both 
American and English, upon the art of mak- 



xvi Frefdce. 

ing "Wax Elov/ers and Foliage by the old 
method, and, if we had not j^reviously known 
the necessity for an authority and a correct 
instruction book of the art, we certainly would 
have felt it after reading those books, which 
■v^re evidently written by persons entirely un- 
acquainted with the subject, with only one or 
two exceptions. The author of this work is 
well acquainted with the art of making Wax 
Flowers and Foliage, and believes this New 
Method is the only reliable and accurate sys- 
tem which can be taught. 

We are induced to say this not from a feel- 
ing of conceit, but to assure the novice that, 
by close attention to the instructions with 
the various designs accompanying them, they 
may become proficient artists in a very short 
time. Many have acquired the art in tlie- 
short time of three hours ; we have taught 
it successfully in New York to hundreds of 
pupils in this time. 

This new method which we propose to de- 
scribe is in as clear and concise language as 
can be used, and many useful hints are given 



Trefojce, xvii 

which will be of infinite benefit in learning 
them. 

The nse to which this art may be applied 
are manifold, as objects of art, studies for 
museums, as aids to the sculptor, the painter, 
and designer ; and for all interior decorative 
purposes they are admirably adapted, and 
will, when their uses are better known, be 
more extensively used. 

"We present also to our readers several 
pages of " Beautiful Poems," in the perusal of 
which we ask the indulgence of our pupils. 
Perhaps, during the cold and dreamy nights 
that are about to come upon us, seated by 
the warm fireside indulging in the beautiful 
art, the pupil may find subject for thought in 
the work ; or, when leisure hours find us at 
our summer resorts on the mountains or at the 
sea-shore, whiling away the golden moments, 
the " Poetry of Life" may not be inapropos. 

If we have " left undone those things which 
we ought to have done," the reader is re- 
minded of the short space of time in which 
we were obliged to prepare the work, and we 
hope our derelictions will be overlooked. 



xviii Preface. 

We liave spared neither labor nor expense 
to make tlie work attractive as well as in- 
structive, and we sincerely hope we have 
succeeded in our efforts ; and the rapid suc- 
cess, and consequent good spirit of our reader, 
will be a reward dearer to us than any other 
which it is in the power of humanity to 
bestow. 

Ifeio York City, 1874. 



PLATE I. 




No. 1. 



No. 2. 



No. 3. 





No. 4. 



No. 5. 



GENERAL INSTEUCTIONS. 



*' Flowers are the brightest things which earth 
On her broad bosom loves to cherish ; 
Gay they appear as children 's mirth, 

Like fading dreams of hope they perish." 

As we have promised our readers, in this 
New Method of making wax flowers, to write 
in as clear and concise language as possible, 
we will commence the chapter with a correct 
list of material that is required, and be as 
brief as possible. 

In the first place, we must let our pupil 
know that in making our New Method we use 
very little sheet wax. It is only necessary to 
use sheet wax for the green leaves, calyxes, 
Pond Lily centres, and a small portion may 
be used in covering the stem wire so as to 
give it a more natural look. 

What we use is the ordinary melted cake 
wax, which can be had at any paint or drug 



• 
22 General Instructions. 



store. It is necessary to have a lamp to melt 
the wax. We manufacture a very nice lamp 
suitable for the purpose, and a great many 
other requirements, such as heating curling 
irons and crimpers, or used in cases of sick- 
ness. It is a neat tin lamp with two burners, 
aad burns alcohol. We also m.ake a one- 
burner lamp, but it requires twice the time 
in melting the wax. 

The next articles that are required in this 
New Method are a few tin cups, say four or 
five. These cups may be had at any tin 
store, at the cost of about five or six cents 
each. 

After having your lamp all ready with your 
cups clean, you may take from one to one 
and a half cakes of wax, break it small, and 
XDut in the cup over the lamp. 

The wax, when melted, becomes a beau- 
tiful white, and it is not necessary to put any 
color in the cuj), as your white wax is ready 
for use. Be very careful that you do not let 
the wax boil. It is only necessary to have 
the wax melted, for, should you get too much 
heat, so as to boil, the wax would spoil. To 



General Instructions. 23 

avoid letting your wax get too liot, you may 
take the cup off the lamp, but, as soon as 
the was becomes thick or cool, it must again 
be returned. 

The next color most necessary to j)lace in 
your cup would be a beautiful cup of Eose- 
colored wax, for Eoses, N'ext in order, a cup 
of YeUow-colored wax, for Tea Eoses and 
other requirements, which will be explained 
in another chapter. Make also a cup of 
green wax, for Eose cup3 and several other 
purposes. 

The other colors are used dry with a small 
brush or the finger. 

The f ollowiag colors are dry : — Orange 
Chrome, Chrome Green, Eose Madder, 
Chrome Yellow, Prussian Blue, Carmine, 
No. 40, French Purple, Burnt Umber, and 
Silver White. 

These colors are all in small bottles, and 
put up expressly for wax-work. To make 
any color of the above in wax, mix a small 
portion of the color you require in the clear 
wax — take, on the average, a quarter of a 
bottle to three-quarters of a cupfuU of wax. 



• 



24 General Instructions. 

If a smaller quantity is desired, diminish, tlie 
portions, and you may mix as little as you 
choose. Silver White gives a beautiful azure 
to the Prussian blue, and may be used to 
advantage to make all other colors lighter. 

To darken any color, you can mix a small 
Quantity of Burnt Umber. Every flower must 
have a stem, consequently you use the pre- 
pared stem wire which is expressly made for 
that purpose. They come in small ounce 
packages, already covered with a green paper. 
This is very desirable, as, a coating of warm 
wax on the paper, it is all ready for use. 
That wire which is not already covered with 
paper, you may cover it with a small strip of 
green sheet wax. A little practice in this will 
soon make you perfect. Stamens is the name 
given to the fine centres that grow in the 
Fuchsias, Morning Glories, etc. They can be 
bought in different colors. "We use but five 
or six varieties in our flowers. Spool wire 
maybe had of difterent sizes. It is useful for 
the stems of Green and Autumn leaves ; it is 
covered with green silk or cotton, just as you 
wish it. Should the pupil not generally un- 



General Instructions, 25 

derstand any part of this New Method, we will 
only be too happy to explam practically at 
our Studio. 

At the end of this book we will give the 
reader a precise hst of articles used in making 
wax flowers; the expense of the materials 
used being so Uttle that it becomes within the 
I each of everybody. The New Method is so 
simple that a child can learn. Careful atten- 
tion is requested of all pupils at the list, as 
we will supply the best quality of everything 
used, and at a much lower price than can be 
purchased elsewhere. 



PLATE II. 





No. 6. 



No. 7. 





No. 



No. 9. 



INTKODUCTOKY. 



Flowers, the sole luxury that Nature knew, 
In Eden's pure and guiltless garden." 



It is necessary to introduce to the Pupil the 
nine moulds which are used in thisNewMethod. 
You will see on Plates I and II the fac-simile 
used. Seven are made of Plaster of Paris 
and two of wood. We have patented all with 
our new flexible wire spring handles, which 
makes a desired improvement of the former 
moulds. 
No. 1 is the Morning Glory mould. 

" 2 is the Carnation or Clove Pink mould. 

" 3 is the Lily of the Yalley mould. 

" 4 and 5 are for making Roses and Buds. ,. 

" 6 is the Fuchsia and Tuberose mould. 

" 7, 8 and 9 are moulds used in making the 
Pond or "Water Lily and Passion Flower. 



Introductory, 29 

All of the above moulds must, before being, 
used, be placed in a cup of cold water and 
remain there about five minutes ; and when 
they are not in use be careful not to leave 
them in the water any longer, as they will be- 
come soft. Always dip your moulds in v/ater 
before you dip in the hot wax, and moisten 
the hand with water to prevent the wax from 
adhering. The manner in moulding all our 
flowers is simply to dip the mould in the hot 
wax, and taking it out instantly. In making 
a flower, take, for instance, the smallest Rose 
mould. No. 4, dip it into the hot wax, and in 
taking it out instantly, you hold it to one side, 
so that the drop of wax which would other- 
wise remain on the middle of the leaf, falls 
to the end of ifc. You then place it on the 
palm of your left hand, moistened with water, 
and with a gentle shde upwards, towards the 
thumb, the wax will remain to the hand apart 
from the mould. You need have no fear of 
the wax burning the hand, as it becomes cool 
after leaving the lamp. Plate III, No. 16, gives 
the student a beautiful illustration of taking 
the wax off the mould. This makes a 



30 Ifiiroductory, 

splendid leaf Avitbout the use of the 
scissors. 

Always bear in njiDd that it is necessary to 
dip the moulds in water before yon dip in 
the hot wax ; also, be careful not to let the 
water drop in the wax. 

No. 7, 8 and 9 moulds are used the same 
way. Always be careful to turn them on the 
end in taking them out of the hot wax. See 
that the drop falls to the bottom, so you will 
have no imperfection in the leaf. 

No. 1, the Morning Glory mould, is dipped 
in the wax the same as the others, only that 
it is taken out perpendicularly, so that the 
drop of wax remains at the tip point of the 
mould. In removing the wax from the mould, 
take the wire handle in 3'our right hand, gen- 
tly press the wax with the thumb and first 
two fingers of the left hand, and with a small 
movement and slight press, the w^ax will 
readily come from the mould. See Plate lY, 
No. 17. A little practice in removing the 
w^ax from the moulds will soon make the pu- 
pil perfect. To make a pretty Morniug Glory, 
do not dip your mould too deep. The Carna- 



Inirodnctorij. 31 

tion or Clove Pink and Lily of tlio Valley 
are used exactly as the Morning Glory mould. 

But you must dip the full length of the mould 
for the Carnation and Pink. Use your own 
judgment in making these flowers, as practice 
only makes perfect in these two. A small 
dip is only required for the Lily of The Valley. 

No. G mould is dipped the same as Nos. 4 
and 5, only be more careful in dij^ping, do not 
go too deep, as it wiU make a bad edge on the 
leaf. 



LESSON I. 

THE WATEK-LILY. 

Put forth such blaze of beauty as translates 
To dullest hearts their dialect of love." 



TPIE WATER-LILY. 

Theee are a great variety of these beautiful 
flowers — all charming in form and color, and 
all of Yvdiich may Le imitated with great ex- 
actness. The common Lily of our rivers and 
ponds I shall choose for this lesson, as being 
the best known, and of which a natural speci- 
men may be easily obtained at the proper 
season. 

To make this beautiful flower, you first pre- 
pare your stem-wire ; take the largest one you 
have, as it requires a stout stem, cover it with 
small strips of sheet-wax, being careful not 
to let the space or seam be seen ; if you have 
any melted green Avax, it would be well to 



The Water-Lily. 33 

take a small camel-hair brush and run over 
the stem ; this will seal all the seams and 
make it look more natural ; place your crook 
in the top part of jour stem wire, cover- 
ing it with wax to make a bulb for a founda- 
tion to work upon. Do not forget this, as it 
is quite essential; this prevents the petals 
from slipping upward in adhering them to- 
gether. To make the centre of the Lily, you 
take the orange and yellow sheet v/ax. Take 
an ordinary sheet of orange-colored wax cut 
through the centre lengthways ; you then 
place it in your left hand, and with a scissors 
cut strips as shown in Plate Y, Figure 13. 
After this, j)incli the points together, making 
them somewhat rounding, to look like the 
natural. You now place it upon the stem ; 
adhering it with that part not cut, press it 
gently upon the bulb ; now cut your yellow 
wax as shown in Figure 14 ; press this also on 
the outside of the orange wax. If the bulb 
or centre, as now made, should look too stiif, 
you can take the stem in your right hand and 
gently, vrith the palm of the left, press down 



34 The Water-Lihj. 

on tlie top of tiie centre ; this will give it a 
more graceful and easy look. 

Now, to form the first row of petals, you 
take Mould No. 7 by the handle and dip it 
lightly into the hot melted white wax ; take it 
out instantly and hold one end up, so the 
snfall drop of wax that always is upon the 
bottom of the mould, fall to the smallest end. 

See that you do not dip too deep, as the 
deeper you dip, the larger the leaf. Make 
about nine leaves around the first row ; on the 
next, place about the same amount, bemg 
careful that you get them on a little higher 
than the yellow centre ; on the third row, dip 
your mould a little deeper, making the leaf 
longer. Never make a new leaf until you are 
sure that the leaf is thoroughly tight to the 
centre on the stem. Always remember that 
wdiere you have left the drop of wax, adhere 
it. After this is complete, you next take 
the second size mould, v/hich is No. 9 ; make 
as many petals as will go around and cover 
the space, being always careful to let the drop 
of wax run to the smallest end of the mould ; 



The Water-Uly. 35 

make anotlier row the same. Now make as 
many leaves from tlio same mould, No. 9, 
as v/ill go around ; let the drop run to the 
small end, the same as the previous leaves. 

For the Calyx, the larger mould is used. 
Make four petals — di]3 liist into the white 
and instantly after into tne green v/ax, which 
must be ready for use. >>ow take a small 
quantity of Burnt Umbei and rub it on the 
outside of the four leaves, making the Calyx. 
The same color may be used on the Pond 
Lily Leaf. In making the Bud, you form 
the centre the same as the full-blown Lily 
Make about two rows of the smallest leaves, 
next follow with the largest ; make one row 
only. You are now ready to put on the Ca- 
lyx or outside leaves. Dip the mould first 
into the white wax, after, into the green, the 
same as for the Lily ; bring them together, 
almost, at the top, so the yellow centre will 
show but a trifle. Use the Burnt Umber the 
same as you did on the other Calyx. 

Instructions for making the leaf will be 
found in Lesson X. 



WATEK-LILY. 



ffhere's a spring in the woods by my sunny home, 

Afar from the dark sea's tossing foam ; 

Oh ! the fall of that fountain is sweet to hear 

As a song from tho shore to the sailor's ear ; 

And the sparMe which up to the sun it thrown 

Through the feathery fern and olive houghs, 

And the gleam on its path as it steals away 

Into deeper shades from th3 sultry day ; 

And the large water-lilies that o'er its bed 

Their jDearly leaves to the soft light spread, — 

These haunt me. I dream of that bright spring's flow; 

i thirst for its rill like a wounded roe. 

Hemaks. 



LESSON 11. 

THE ROSE AND BUD. 

Tlie blushing rose that hangs its head, 
Or meets the sua with shrinking dread, 
Conceals within its heart a flame 
Which from that glowing noontide came. 



. THE ROSE AND BUD. 

This elegant and beautiful flower is very easily 
made by our New Method. The student need 
only follow our instructions, and the task will 
be easily accomplished. In the first place : 
you take an ordinary stem wire, make a small 
crook on the end, cover the stem part with 
green sheet w^ax, the same as we mentioned 
in our previous lesson. The crook is neces- 
sary to prevent the rose-leaves from slipping 
in pressing them together. Now take your 



40 The Bose and Bud. 

Mould No. 4 — this is the smallest. Dip it 
into the wax, and so make ^a small rose-leaf. 
You now place the leaf upon the end ; in so 
doing you place the large stem, w^iich is 
covered with green wax making a small bulb 
in your left hand, holding it near the crook, 
which is covered, and place the leaf uj)on that 
part of the stem. Being careful to stick on the 
stem that part of the leaf where the drop of 
wax is, and you will find that the wax is so 
thoroughly adhesive that it requires but to 
press it gently on the stem to make it stick 
well. "When you have your leaf thus placed 
upon the stem, you must take and close it 
by rolling it around the stem, in order to give 
a more natural shape to the flower. Much 
of that desirable shape is obtained by the. use 
of the best of modelling tools — the fingers. 
They impart a softness not to be obtained by 
the modelling tool. The wax is pliable, and 
no difficulty will be experienced in so mould- 
ing them. Avoid all stiffness, as a soft 
roundness is one of Ihe characteristics of 
this queen of flowers. You continue on in 



The Rose and Bud, 41 

tliis manner until jou liave one round com- 
plete. The next round you must avoid 
placing them so closely. After you have 
completed the second round, you must take 
the next in size, Mould No. 5, and continue 
en with it until you have your flower com- 
plete. We give the student a beautiful illus- 
tration of the rose and bud on another page, 
Plato No. VI. You will observe from this how 
the rosebud and leaf are placed ; making a 
beautiful combination. Do not make a rose 
with over twenty leaves, as a larger quantity 
will look rather clumsy. To make a splen- 
did full-blown Eose, you proceed the same as 
you have in the above, only after the second 
round place the petals on reversed — that is, 
not to place the hollow of the petal over the 
others, as you have previously done ; but put 
the hollow outside, and it will look exactly as 
if the leaf would fall. To make a finish novr, 
all that is required is to make the calyx, 
which you make of the green sheet wax 
In making the half-blown rose, you take 
the smallest Mould — No. 4. 



42 TJie Rose end Bud, 

Only a few petals are required to form the 
same as the rose previously mentioned. Fin- 
ish it off with the calyx, closing on the top, 
making a point on the centre. 

The closed bud is made in the following 
way : You commence in the same manner 
as making a large rose — placing on your wire- 
bulb the smallest petal made from Mould 
No. 4. This ]3etal is made with the edge of 
the mould — not with the flat surface, as pre- 
viously. You dip about one-third of this side 
into the hot wax. Be sure to use the side, 
not the flat portion, and you will have a sort 
of shell-like leaf. You take four or five of 
these shell-like leaves and place them around 
the stem, which is made the same as the one 
for the rose. 

Now place the calyx on the bulb, as ex- 
plained above, and you have a beautiful bud, 
as shown in Plate YL 

The green leaves are made as explained in 
Lesson X. 



LOVE IN A ROSEBUD, 
(A Fkagment.) 

— O — 

As late each flower that sweetest blows, 

plucked the garden pride, 
Within the petals of a rose 
A sleeping love I spied. 

Around his brows a beamy wreath 

Of many a latent hue ; 
All purple glowed his cheeks beneath, 

Inebriate with dew. 



LESSON III. 

CAMELLIA JAPONICA; 



There are buds that fold within them, 
Closed and covered from our sight; 

Many a richly-tinted jjetal 
Never looked on by the light ! 



LESSOiS III. 



CAMELLIA JAPONICA. 



Tnis truly beautiful flower is probably the 
most admired, except tlie Eose. Our climate 
is very favorable for the Camellia, and there 
are several beautiful varieties. The varieties 
are far too numerous to describe in a work 
of such limited extent as this. "We select of 
our kind the "Wliite Camellia. This is the 
easiest made, as it requires no coloring. To 
imitate it well you take the two rose moulds, 
Nos. 4 and 5. In the first place, see that 
your wax is perfectly pure, as this is the 
most important part. 

Prepare your stem the same as the rose, 
making a small bulb with white wax. You now 
dip it into the melted wax to make it smooth 
and round. Take the smallest mould (No. 4), 
and make three leaves. Place them around 



48 Camellia Japonica, 

tlie stem — placing them a trifle low, so tliey 
will not go over the bulb more than one- 
third of an inch. Make the next row four 
leaves, and place them between the first 
three leaves ; also four more to follow. 
You now take the next mould in size, 
'and make four more leaves. Place them on 
the stem backward, holding the fastening 
part of each leaf in the left hand, so it will 
not part from the stem. You now take the 
largest mould and turn off five petals, placing 
them in almost a horizontal position. You 
now finish with making the calyx, by dipj)ing 
into the hot green Avax. 

A small spray of green leaves looks very 
well with the beautiful fine and spotless 
flower. 



PLATE Y. 




Fig. 14. 



A FKAGMENT. 



'Mid scattered foliage, pale and sere, 
Thy kind floweret cheers the gloom, 

And offers to the waning year 
The tribute of its golden bloom. 

Beneath November's clouded sky, 
In chill December's stormy hours, 

Thy blossom meets the traveller's eye, 
Gay as the buds of summer bowers. 

Flower of the dark and wintry day ! 

Emblem of Friendship ! thee I hail v 
Blooming when others fade away, 

And brightest when their hues grow pale. 



LESSON IV. 

THE MOKNING GLORiT. 

Thine is that excelling virtue 
The pure-hearted only know ; 

Thine that unassuming goodness 
Which in silent deeds doth flow. 



THE MOENING GLORY. 

This beautiful climbing plant of the genus 
convolvulus lias a splendid funnel-sliaped 
flower, usually purple or white, sometimes 
pink or pale blue. They are mostly natives 
of this country ; a great many are often seen 
in our flower-gardens and hot-houses, being 
very ornamental, and readily covering trelhses 
with their twinmg stems, large leaves, and 
large beautiful flowers. 



The Monihuj Glory. 53 

In this chapter we propose to show the 
pupil how this flower is made so easily. 
You take Mould No. 1, dip it about three- 
quarters into the white melted wax ; then 
you may remove it, as shoAvn in Plate 
lY, No. 17, and you have the form com- 
plete. You nov/ take a long piece of spool 
wire and put a long crook upon one end 
covered with a piece of Avax, placing on tho 
wax the stamens. For this you take four of 
the stamens corresponding to the color of the 
flower you are making, and fold them in the 
middle, thus making eight stamens in all; 
how one folded longer than the rest, and you 
have this all complete. To place the stem 
on the flower, you heat one end and slip it 
through the end of the flower ; draw it down 
tight, so that the stamen remains stationary 
in the centre. You now place on your four 
calyxes, pressing them gently, and then tho- 
roughly adhere the stem to the flower. Bend 
the wire with an ordinary round stick, and 
your flower is made — excepting the colormg. 
The colors most seen are the blue, purple. 



54: The'3Iornin(j Glory. 

and pink. The dry paint is usually rubbed 
on with a small camel' s-hair brush. I prefer 
much rather to use Nature's best tools — the 
fingers. To paint the flowers most correctly, 
the sudent had better get one of the natural 
to copy from. 



MOENING GLOEY. 



There ic a flower whose modest eye 
Is turned with looks of light and lore, 

Who breathes her softest, sweetest sigh 
Whene'er the snn is bright above. 

Let clouds obscure, or darkness veil, 

Her fond idolatry is fled ; 
Her sighs no more their sweets exhale- 

The loving eye is cold and dead. 

Canst thou not trace a moral hue, 
False flatterer of the prosperous hour ? 

Let but an adverse cloud appear, 
And thou art faithless as the flower. 



LESSON Y. 

LILY OF THE VALLF.Y. 

O, what a lovely moial tells 

The Lily with its silver bells ! 

'Tis said they ring on summer nights 



LILY OF THE YALLEY. 

This beautiful and graceful little favorite 
flower is made from Mould No. 3. The wax 
being melted, can be removed from the light. 
Dij) your mould in water first to prevent the 
wax adhering. The wax used must be of the 
purest whiteness. Take the mould by the 
handle, holding it quite perpendicular, dip 
in the wax, withdrawing it as qidckly as pos- 
sible. Should the wax be too thin, it is 
because the wax was warmer than it should 
be. If too cool, it will be thicker than is 



Liltj of the Valley. 57 

desirable ; the right heat is only to be found 
by practice. Make about seven or eight of 
these little bells ; then cut the same amount 
of spool wire (about one and a half to two 
inches in length), and a large stem wire for 
the stalk (about three and a half inches long). 
After making a small hole at the top of the 
bell, through which you can pass one of the 
wires, with the pistil affixed, then draw it 
tight to the bottom of the bell, and the bell is 
complete. Cover the stem with green wax. 
The buds are best imitated by rolling some 
green wax around the top of the stem, and dip 
into white wax. To give a more natural look 
to the bells, you may take and pinch the four 
sides gently, which will prevent them from 
being so open. This all done, they will re- 
quire arranging on the long stalk, one of the 
smallest buds at the top, the rest following 
on either side, imitating, of course, the ar- 
riingement observable in the natural flower. 
The pupil will notice that two leaves grow 
facing each other, which are long and narrow, 
and can be made with a brass mould. Ex- 
plained in Lesson X. 



THE MOSS KOSE. 



The angel of the flowers one day 

Beneath a Rose-tree sleeping lay ; 

That spirit to whom charge is given 

To bathe young buds in dews of heaven. 

Awaking from his light repose, 

The angel whispered to the Rose : — 

'•Oh, fondest object of my care, 

Still fairest found where all is fair ; 

For the sweet shade thou giv'st to me, 

Ask what thou wilt — 'tis granted thee !" 

"Then," said the Rose, with dcepen'd glow, 

"On me another grace bestow." 

The spirit paused, in silent thought — 

What grace was there the flower had not ? 

'Twas but a moment. O'er the Rose 

A veil of moss the angel throws : 

And, robed in Nature's simplest weed. 

Could there a flower that Rose exceed ? 



LESSON YL 

THE DAKK CLOVE PINK. 

■ And there the beanteous Carnation stood, 
"With proud, disdainful eje." 



THE DAEK CLOYE PINK. 

This beautiful and often frequent flower has 
always attracted admiration for its dark, 
rich color, though the variety of colors are 
numerous — all the shades, from scarlet to a 
deep purple maybe found in this flower, and, 
with a httle care, can be easily imitated. 
You flrst proceed to make your stem wire. 
Coat it with green sheet wax. Put the small 
crook in the wire, also covered with w^ax. 
You now cut from white paper two horns, or 
antlers ; dip them m wax ; put them upon 



60 The Dark Clove Pink. 

the stem wire. You now take Mould No. 2 
and prepare your leaf, by dipping it into the 
hot white wax, nearly full length. In remov- 
ing it, do so the same as you do the Morning 
Glory, show^n in Plate IV, No. 17 ; make four 
in all. You now proceed to color these cups 
or bells with carmine on both sides, rubbing 
it in with a small brush, or the fingers. It is 
necessary to cut the ragged or serrated edge 
with a scicsors. After doing this you cut the 
four bells in five parts in the small grooves 
left on by the mould ; cut them withm one- 
third of the top of the bell. You now heat 
the end of the wire, and pass it through the 
bell, adhering it with a gentle squeeze with 
the thumb and fingers. Do the same with 
the three remaining ones, avoiding all stiffiiess 
in arranging them. After you have placed 
these on, make the seed-cup. To do this, you 
take an ordinary stick or pencil — a pencil 
would be better; scrape it smooth with a pen- 
knife, removing the black paint about three- 
quarters of an inch; place it in water, the 
same as you do the other moulds. You now 



The Dark ChvcPluh 61 

prepare your green wax. Dip the pencil or 
stick into it quicldj*. If tlie wax sliould be 
too thin, dip the second time, to make it 
thicker. After removing the pencil, cut for 
the cal}^ the four various parts with the scis- 
sors. Place the stem tln-ough the funnel and 
press it to the flower gently, and you have it 
complete. 



LESSON YIL 

TUBEROSE, OB, TU-BEBOSE. 

First fair floweret of the year, 
'Mid thy white and savory bed, 

Welcome Spring's first harbinger. 
Gold-tip Tuberose, rear thy head. 



TUBEEOSE, OR, TU-BEROSE. 

This elegant flower lias gained a liigli repu- 
tation and esteem for its beauty and fragrance. 
The odor is most powerful after sunset. The 
plant grows well in the South, but only bears 
the open air in more northern climates dur- 
ing summer. It makes a beautiful flower in 
a wax collection with its i^erfect whiteness. 
To make this flower, it is best imitated from 
Mould No. G . You first prepare your stem. 






The Rose, or, Tu-berose. G3 

Having covered it with sheet wax, put the 
crook on the end, and then cover it also with 
wax, making a kind of ball re}Dresenting the 
pollen. You are now ready for the petals. 
First wet the mould, then the hand ; dip the 
mould into the wax, which must be perfectly 
clear ; turn it the same as the other leaves, 
and you have the Tuberose. The outside 
leaves, you will perceive, are bent backwards, 
and curl a trifle. To form the calyx, bend 
the wire, so you can dip the flower in hot 
green wax ; do not dip too deep. This forms 
a beautiful calyx. 



TUBEKOSS. 



Bright flower, whose home is everywhere- 
A pilgrim bold in Nature's c?.re, 
And oft, the long year through, tho h^ir 
Of joy or sorrow. 

Methinks that there abides in theo 
Some concord with humanity, 
Given to no other flower I see 
The forest through. 

And wherefore? Man is soon to depart- 
A thoughtless thing, who, once unblest, 
Does little on his memory rest — 
Or on his reason ; 

But thou would'st teach him to find 
A shelter under every wind— 
A hope for times that are unkind — 
And every season. 



LESSON VIII. 

FUCHSIA. 

Besida the rosy bower of love, 

Blest wltli the smila of sunny skies, 

With sweets around it and above, 
The drooping Fuchsia poured its sighs. 



FUCHSIA. 

This beautiful Lady's Ear-Drop, as a great 
many call it, has derived its name from one of 
the fathers of botany — "Leonhard Fuchs." In 
our northern climate, the flower is not so suc- 
cessful — the vmiters are too cold. The varie- 
ties of the Fuchsia are numerous, and gene- 
rally a pendulous red flower, of which the calyx 
is funnel-shaped ; for beauty and elegance it 
has no equal. This beautiful flower can be 
v/ell imitated by using the Mould No. G, and 



QQ Fuchsia. 

the smallest rose moulds. You first jorepare 
your stem wire and then adhere your stamens 
— eight are necessary — one longer than the 
rest, something similar to the Morning Glory. 
Now make four leaves for the corolla, using 
the smallest Bose mould. Do not dip but 
only one-half of the flat surface into the wax. 
Then place the eight petals you have made 
around the stamens. To make the sepals or 
calyx, you use the Mould No. 6 the same, but 
being careful not to dip over the flat surface. 
You now place them around the petals. In 
finishing the Fuchsia, you bend the wire and 
dip it gently into the green wax. This forms 
the seed-cup. The varieties of color are nu- 
merous ; we select a few for our pupils. A 
splendid one is the petals or centre, being 
white; and the four sepals with the body, 
pink madder. Another is, crimson centre 
and white outside -petal ; also, purple centre 
and crimson outside. T o make the bud, form 
your wire, the same as for the flower, except- 
ing placing upon the stamens, you might omit 
the centre also, as you cover it with the out- 
side leaves — which must close at the point — 



Fuchsia, 67 

wliicli hide all the interior. To arrange a 
beautiful spraj, you take an extra strong 
stem wire — prepare it with green sheet wax. 
Place at the end two smallest leaves and 
then two a trifle larger. You now can put 
on two buds ; follow with green leaves. Now 
the fullblown flower and more leaves. You 
then have a beautiful spray. 



LESSON IX. 

SWEET PEA. 

'* Hero arc Sweet Peas, on tip-too for a fiigM, 
With v/ings of gentle flush, or delicate white. 
And taper lingers, catching at all things, 
To bind them all about with tinj/ rings." 

THE SWEET PEA. 

This delicate little flower is a native of the 
East, and is one of the best-known ornaments 
of our flower-garden, esteemed, not only on 
account of the beauty of its flower, but of 
their dehghtful fragrance. There are numer- 
ous colors. It is, vv^e think, the easiest one of ail 
to imitate. First you prepare your stem of 
spool wire. Take the smallest Eose mould, No. 
4, dip into the y/hifco wax, and make three 
small leaves. With a scissors cut the first 



The Swcef Pea. 69 

one around, and make it about half the size 
it was before. The second leaf you use a 
trifle larger, and the third one can remain tho 
full size, as from the mould. You now want 
to color the first one with pink madder, leav- 
ing the largest leaf v/hite. Now place the 
smallest leaf upon the stem, bringing the 
edges together — this will place a sharp edge 
upon the front. Now take the second leaf, at 
the back of the first one, and adhere it to the 
stem ; also, press it on the top from the back, 
to bend the leaf inward on each side of the 
first one. Now place the third leaf upon the 
stem at the back of the first ones, with tho 
hollow part backv/ard in contact with the 
others. Four Lttle pieces of sheet wax 
placed on for the calyx, finishes the flower. 



SWEET PEA- 



Sweet wilding tufts, that 'mid tlie waste 

Your lowly buds expand ; 
Tliougli by no sheltering walls embraced^ 

Nor trained by beauty's hand ; 
The primal flowers which grace your stems 

Bright as the dahlias shine — 
Pound thus like unexpected gems 

To lonely hearts like mine. 

Tis a quaint thought, and yet, perchance. 
Sweet blossoms, ye are sprung 

From flowers that over Eden once 
Their pristine fragrance flung : 

That drank the dews of Paradise 
Beneath the starlight clear — 

Or caught from Eden's dejected eyes 

Her first repentant tear. 

Smith. 



'PLATE YI. 




KOSE AND BUD. 



LESSON X. 

AUTUMN AND GREEN LEAVES, 

These few pale Autumn flowers — 
How beautiful tlicj' arc ! 



AUTUMN AND GEEEN LEAVES. 

In our New jMetliod of imitating the foliage 
of any kind of flower, we liave j)repared all 
kind of leaves in brass and tin moulds. These 
moulds are made of the best metal, and repre- 
sent all the leaves required in this art. They 
are a decided improvement on the old method 
of making foliage, and can bo purchased at 
any v/ax material store. 

In making a loaf, you take the brass or tin 
mould, and place it into the water ; then take 
your green v: ax, press it gently on the back of 



74: Autumn and Green Leaves. 

the mould — that is, where the yeins are 
deepest impressed ; with the thumb and 
finger press until you see a good impression 
on the wax. You now place a small piece 
of spool wire upon the wax — place it about 
one-half way up the centre of the mould on 
the wax. You now place another cover of 
sheet wax right over the other, covering the 
stem wdre. You press this a trifle harder 
than you did the first, to get a full impres- 
sion. When you have completed this, you 
press your thumb all around the sharp edge 
of the moulds — this will cut it sufficiently to 
separate it from the mould. Your leaf is 
now done. The next thing is to take the 
leaf off. This is done very easily. You sim- 
ply loosen the edge with your thumb, push- 
ing the wax from the mould. You now lift 
up on edge, and the leaf will leave the 
mould. Be always sure to wet your mould 
before using it. Every leaf is made in this 
manner. If you need a heavy leaf, you sim- 
ply use thicker wax. 

Autumn leaves are made in the same way. 
You can purchase very handsome variegated 



Autumn and Green Leaves. 75 

wax to make these leaves with at ahnost any 
store. 

The scissors must be frequently dipped in 
water, to prevent their adhering to the wax. 
Should they become clogged, remove the wax 
which may have accumulated on their blades 
with a piece of cloth, dip again into the wa- 
ter, and commence again. Beginners will 
find new scissors rather troublesome on first 
using. Never waste your clipping, as every 
particle of wax can be used, and melted in 
the cup of green wax. 



LIST OF MATERIALS. 



The following list of iiiateriaLs is especially 
selected hj us as a complete outfix for the 
new beginner ; and it is advisable that the 
student should have all that is included in 
the list. We have selected and put up the 
best materials that can be had in the mar- 
ket, and at a much lower price than can be 
obtained elsewhere. They are all put up in 
a handsome box, made for the purpose, and 
can be sent to any part of the United 
States. 



LIST OF MATEMALS AND PRICES. 



1 Large Lamp, two burners, $1 00 

1 Small " one burner, 50c. 
1 Pound of Wax, 85 

Fine Drj Colors, especially prepared 
for Wax Flowers by us. 
1 Yial Chrome YelloM-, 
1 '' *' Green, 

1 " Prussian Blue, 
1 " Frencli Purple, 

1 " Orange Chrome, }- 10c, each, 90 

1 '' Burnt Umber, 
1 " Rose Madder, 
1 " Silver White, 

1 " Carmine, No. 40, 
3 Camel's Hair Brushes, 4c. each, 12 

2 Size Wire on Spools, 10c. each, 20 
1 Package Large Stem Wire, 10 



78 



List of Materials and Prices. 



1 Finely Prepared " Oil Tube, Silver 

Wliite," $0 15 

6 Bunches Assorted Stamens, 4e. ea., 24 



1 Doz. Sheets Yellow Wax, 
1 " " Orange " 



1 ^ 



Ass'd Green, Light j ^ 
and Bark Wax, J S 



60 



Brass Moulds for the Leaves. 




Pond or Water Lily, 


3 sizes, 






Ivy, 


3 '' 






Geranium, 

Lilies of the Yallej, 


3 '' 

2 " 


fc4 


1 00 


Camellias, 
Fuchsias, 


2 - 
2 " 






BoseSj 


3 " 







18 Total, IL50, $5 16 



List of 3Ia(erials. 79 

Students ordering tlie above list in full, wo 
will send it complete, allowing 5 per cent, 
discount. If tlie small one-burner lamp 
should be wanted, we make a further deduc- 
tion of 50 cents. It is advisable to use the 
larger lamp, as it is much more convenient. 

AU of the above can be sent to any part 
of the United {States ; and those who want 
their order properly attended to, must en- 
close $2, and send to us per Hegistered Letter, 
mth the order ; the balance can be collected 
on dehvery. 

We keep in stock aU kinds of materials for 
making "Wax Flowers ; also Glass Pond Lily 
Shades, Oval, Round, and Square Shades. 

In giving orders for Glass Shades, please 
observe the following rules, to avoid unnec- 
essary correspondence or misunderstanding : 

If a Round Shade is required, state the 
exact diameter and height — for instance, G 
inches diameter, 9 inches high. 

If an Oval or Square Shade is required, 



80 List of Matericds. 

state the exact small diameter, large diame- 
ter, and height — for instance, 5 inches small 
diameter, 10 inches large diameter, 15 inches 
high; or 5 inches wide, 10 inches long, 15 
inches high. 

In ordering the Pond Lily Shade, only give 
the number of inches in diameter. 

Pond Lily Shades have a fine polished 
Mirror Stand. 

Liberal discount on all articles to Teach- 
ers and Dealers. 

Address 

ALBEET B. SMITH, 

Art Studio y 
No. 317 Sixth Avenue, New York. 



ADVERTISEMENTS. 



ENTIRE NEW METHOD 

OF MAKING 



New, Reliable, and Accurate System Taught in a 
few Hours. 



Foliage made v/ithout Mould or Scissors. 

This New Method has given general satisfac- 
tion ; it is so simple that a child can learn in 
half a day. "We use the ordinary cake wax, 
v^^hich is about 300 per cent, cheaper. Mrs. 
Smith guarantees that her Pupils Y\dll learn 
in the short space of three hours more than 
they can learn by the old method in three 
weeks. Terms for Flow^ers, $5.00, which in- 
cludes a bouquet of flowers and a full 



84: Hoiv to Send Alonaj. 

set of moulds and tools. Terms for Foliage, 
$10.00 for superior workmansliip, beauty, and 
elegance. We defy competition. 

^ Mks. SARAH M. SMITH, 

No. 317 Sixtli Avenue, 
Between 19tli and 20tli Sts., New York. 



HOW TO SEND MONEY. 

Money may be sent at our risk by any of 
the Express Companies, prepaid, or in Reg- 
istered Letter by Mail or Postal Money Or- 
der, also by Bank Draft payable in New 
York. Small amounts can most readily be 
sent by obtaining a Postal Money Order at 
your Post Office. Large amounts are better 
sent by Bank Draft payable in New York; 
but if that is not convenient, money can bo 



Directions. 85 

sent safely by Express, securely sealed, with 
the amount ^Titten on the outside of the en- 
velope. 

Parties sending money in advance will 
save Express charges for collecting. 

Always enclose $2 in advance with your 
order, balance payable when the goods are 
delivered, (C. O. D.) 



DIEECTIONS. 

Write your name as plainly as j)ossible, 
and give full address, Post Office Box, County 
and State, to ensure a prompt return. 

State what Express Company runs direct 
to your place, to save the expense of transfer 
from one Company to another. 

Where there is no Express Company, goods 



86 Directions, 

may be sent by Mail, when money is sent in 
advance. 

Packages Avill be sent by Express, unless 
ordered otherwise. 

Letters requii'ing answers should have a 
etamp enclosed for return postage. 

Packages not exceeding twelve ounces can 
be sent by Mail, at the rate of two cents for 
each two ounces, or fraction thereof ; in 
which case, we require extra for postage and 
registered fee. 



ALBERT B, SMITH 

Importer and Dealer iii 



For covering Clocks, Birds, Statuary, &c. 



SHEET WAX Am MATEEIALS 

For Wax Flower Making. 



llli Wira Bmilati^ Btiii &^, 



-o- 



NATURAL FLOWERS PRESERYED. 

Eound and Oval Pramea f:r Preserved Flcv/ers. 



Wooieii Crosses^ Marps, Lyres, &c. 



Ko. 317 Sixth Avenue, (up stairs,) 
2d door below 20tli St., New York. 

o 

Orders by Mail promptly attended to. 



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